Transpose, And Fine; Keygroup Envelope - Akai s900 Operator's Manual

15
PAGE
071
LOUD SAMPLE RANGE
ASSIGNMENT
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Loud
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*Low
K
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27
Keyboard assignment
determines
the range
(from
lowest note
to
highest
note)
covered by
a sample.
Example:
If
you have
a
sample
recorded
at
C3
(MIDI note 60)
and wanted
to
transpose
it
plus
and minus one
octave, the
low note
would be C2
(MIDI note
48)
and
the high note would be C4
(MIDI note
72).
If
there
is
no
loud sample, which
is
the case
if
velocity
threshold
=
1
28 (thus
precluding the use
of
a
loud sample; see
Page
04),
the
LCD
will
say
"No
loud sample,
vlcty
thrsh
=
1
28."
1
Point arrow
at
"sample." Use
CONTROL
to
select the
sample
to
be assigned
to
a given range
of
the keyboard.
2.
Point arrow
at
"Low
key." Adjust
CONTROL
to
select the
desired
note, or enter the
three-digit
MIDI note number
with
theO—
9
keys.
3.
Point arrow
at
"High
key." Adjust
CONTROL
to select the
desired
note, or
enter the
three-digit MIDI note
number
with
the
0—9
keys.
PAGE08i
LOUD SAMPLE
LOUDNESS,
FILTER,
TRANSPOSE, AND
FINE
PITCH
*0B
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*LoudneS5
*Fi
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t«r
*Transpos8
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00
99
+00
+00
This page
edits four hard sample
parameters.
LOUDNESS
(hard
sample
level adjust)
Each sample
level
can be
adjusted by
itself (Edit
Sample Page
03) or
as
part
of
a keygroup, as
in this
case.
Different
sections
of
the
keyboard can
play at different
levels
if
desired, or
samples
with
unequal
levels
can be balanced
out
for
uniform
keyboard
re-
sponse.
Point arrow
at
"Loudness." Use
CONTROL
to
vary
loudness
from
+50
above
the nominal
+00
point
(louder) to
—50
below
the nominal
+00
point
(softer). Note:
These
figures represent
ar-
bitrary
volume
units,
not deciBels.
FILTER
(hard
sample
high frequency response)
Low
pass
filtering
passes
low frequency sounds and
attenuates
high frequency sounds.
The
frequency
at
which
the
filtering
action
occurs
is
adjustable.
One
application
is
to
clean
up
noisy
samples
by removing high
frequency
hiss; also,
filtering inter-
acts with
filter
velocity
sensitivity
(see
PAGE
10).
Point arrow
at
"Filter."
Use
CONTROL
to
set the
initial filter fre-
quency
or enter
a two-digit
number
with the
0—9
keys.
The
lower the
number,
the lower the
cutoff frequency.
TRANSPOSE
(hard sample
transposition)
Point
arrow
at
"Transpose."
Use
CONTROL
or
the +,
—
,
and
0—9
keys
to
vary
transposition
amount
in
semitones from
50
semitones
up (+50)
or
50
semitones
down
(—50).
+00
gives
no
transposition.
Note:
Not
all
samples
are
capable
of
being transposed over the
full
range.
FINE PITCH
(hard
sample
pitch)
Point
arrow
at "fine."
Use
CONTROL
or
the +,
—
,
and number
keys
to
fine-tune the
sample
pitch
up
to just
over a flatted
fifth
(
+
99) or
an
equivalent
amount
in
the
downward
direction
(—99).
+00
gives
no
pitch
change.
PAGE
091
KEYGROUP ENVELOPE
SETTINGS
-M9
ENV *Attack
*
KG
I
*
O
a
c a
y
tSustiin tRiliin
80
99 30
Sounds
are often
looped
to
create continuous
sustain.
This
saves
memory
but unfortunately
sacrifices the
natural
dynamics
of a
sound.
The envelope
function allows dynamics
to
be
put
back
in
to
a sound,
and can
also
be used
to create
special ef-
fects—super percussive piano sounds,
for
example,
or guitar
notes
with the attack characteristics of a
woodwind
instead of
plucked
instrument.
There
are
four
adjustable parameters, as summarized
below.
Decay
Attack
.Sustain
level
Release
Key down
Key
up
ATTACK
Attack
is
the
envelope
generator's
first
phase, and
sets the
amount
of
time required
for
the
keygroup sound
level to
go from
full
off to
full
on.
Short attacks are
characteristic
of
plucked
instruments; longer attacks are characteristic
of
woodwind
and
some bowed
instruments.
Point
arrow
at
"Attack."
Use
CONTROL
or
enter a
two-digit
number
(00—99)
with the
0—9
keys. Higher numbers
give
longer attack times.
DECAY
Decay
is
the envelope generator's
second
phase, and
sets the
time the keygroup sound
level
takes
to
fall
from the
maximum
sound
level
attained
during the attack
phase
to
an
arbitrarily-set
sustain
level
(see next heading).
Point
arrow
at
"Decay."
Use
CONTROL
or
enter a
two-digit
number
(00—99)
with the
0—9
keys. Higher
numbers
give
longer
decay
times.
SUSTAIN
Sustain, the
envelope
generator's third
phase, sets the keygroup
sound
level
during the time the
key
is
held
down. A
looped
sound
will
remain
at this level until
the
key
is
released.
Point arrow
at
"Sustain."
Use
CONTROL
or enter a
two-digit
number
(00—99)
with the
0—9
keys.
Higher numbers
give
higher sustain
levels.
RELEASE
Release,
the
envelope generator's fourth
phase,
starts
upon
releasing a key and
sets
how
long
it
takes
for
the keygroup
sound
level to
fall
from the sustain level
back
to zero. Completion
of
the release
phase terminates the envelope generator
cycle.
Point
arrow
at
"Release."
Use
CONTROL
or enter a
two-digit
number
(00—99)
with the
—
9 keys. Higher
numbers
give
longer release times.